Who should freelance writers pitch to first: the chicken or the egg?

The dilemma of the chicken or the egg – and which came first - has been used as a motif to describe sequential dilemmas since the days of Plato and Aristotle.

So, it was little surprise that the proverbial chicken and her confounding egg found themselves at the centre of a recent discussion amongst members of the Sydney Freelance Journalists Group.

This conversation focused on who a freelance writer should approach first when pitching a story idea - the interviewee (the chicken), without whom there is no story, or the editor (the egg), without whom there is no publication in which to place the story.

Another way of putting it is, how do you get one without the other?

Freelance writer John Treadgold prompted this discussion when he came up with a story idea about an emerging local artist, but couldn’t decide whether to approach the artist first, or the editor of a potential commissioning publication.

“I often find myself with a great story idea. However, I may only have a basic relationship with both the potential subject and the potential publisher,” John wrote in an open email to the group.

“The problem is, the subject may only want to be involved if I can guarantee a respectable publication, and the publication will not want to offer a commission if I don’t have agreement from the subject.”

John’s query is one that I hear a lot from new writers, as well as from experienced journalists who are branching out of their specialities and approaching editors who are unfamiliar with their work.

So, here is my advice to hatching a plan to solve this dilemma.

The chicken – before approaching the interviewee, research all the potential publications – their readership, previous articles, common issues or themes – where you think your story will fit. This will help you fine-tune your story angle and decide which publication is most suitable. Then, when you ring your interviewee, ooze confidence and let them know you have a definitive plan. Say something like, “Hi, my name is Pamela Wilson and I am a freelance journalist. I want to talk to you about a story I am writing with The Sydney Morning Herald in mind.”

The egg – if you suspect that a potential interviewee won’t talk to you before you have secured a commission, but you’re confident in your ability to nail the story, approach the editor first. Research as much of the story as you can and then list all the potential interviewees and relevant studies/statistics in a succinct and articulate pitch to the editor. If the editor can see that you have already done a lot of the groundwork, and that you know the issue well, they will have more confidence in your ability to get the story.

Creating a comfy nest - when you are trying to break into freelancing or a new speciality, think of positive story ideas or those that drum up public awareness of important issues. Experts and case studies are more likely to chat to you if they think you might promote their cause. (In John’s case, I’d be betting a year’s supply of free-range eggs that the artist would be chuffed to think someone considers him worthy of a profile.)

When John put his question to the Sydney Freelance Journalists Group - a forum for freelance writers to discuss and share information about the industry – he elicited many other useful tips.

“I would absolutely approach the artist first,” says freelance writer and editor Kate Hennessy. “If I was an editor reading a pitch about a personality piece or a profile, and gaining access to that person for an interview was a 'maybe', I don't think I'd finish the email.

“This involves barely any time or energy investment on the part of the profile subject - they just have to say 'yes' or 'no' - as opposed to the editor, who has to read the pitch, trust in you, work out where to put it and then re-write your pitch as a commission that will work for their magazine or paper: a lot of work.”

Issues vs individuals

Freelance writer and Meininger's Wine Business International Editor-in-Chief Felicity Carter believes this is less of a problem when freelancers are writing about issues, rather than individuals.

“It’s probably best to pitch stories that aren't dependent on a single person. That way, if you get the commission and your preferred source declines to be interviewed, you can find another expert and still make the story work,” says Felicity.

But if you do have your mind set on a profile piece or a particular case study, tact and sensitivity are paramount when approaching the subject - especially if you haven’t yet found a publishing home for the story, says freelance writer, editor and copywriter Jo Hegarty.

“I usually tell them that I have a magazine in mind and ask would they mind if I approached the magazine to do a story,” says Jo. “If the editor knocks it back, I would say something like, ‘They already had something similar.’ When it comes to real people, you've got to be sensitive about their feelings.”

Successful approach

Meanwhile, Chair of the Sydney Freelance Journalists Group, Rachael Osman-Chin, points out that rejection is an inevitable part of the business for all freelancers, regardless of which approach you take first.

“It is normal to feel discouraged when your ideas are turned down, especially if you have gone to the trouble of securing interviewees,” says Rachael. “However, it is essential to realise that even big name freelance journalists have to cope with editors rejecting their pitches.

“Successful freelancers are the ones who find the motivation to keep going. It is this combination of energy and innovation that makes freelancers such exceptional value.”

Success also comes to those freelancers who can think like an editor, says Fran Molloy, freelance journalist, copywriter and former manager of the Australian Centre for Independent Journalism.

“My favourite way to get more work is to go to the newsagent, find three magazines that interest me, take them home and put on an editor’s hat,” she says. “I try to think what they might look for in next month’s issue that will fit that particular section, format or theme.

“Don’t be surprised if two out of three pitches get slammed. The more you pitch the more chance you’ll get one accepted.”

I agree with Fran; the more you pitch, the greater your odds of being commissioned.

It is also worth remembering that every story, every editor and every potential interviewee is different. Deciding on the right approach for each story can be as simple as thinking about it carefully and logically.

Ask yourself how you would like to be approached if you were a potential interviewee or editor; what could a writer say to you that would give you confidence in their ability?

So long as you are thorough in your preparation, professional in your approach and confident in your ability, what have you got to lose?

For more information about Pamela Wilson or WriteSmart, log on to http://www.writesmart.com.au/